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Tomorrow Night Had a Dream consists of a surreal realist oil painting on canvas and five small lithographs. The work begins with memory, nostalgia and the traces left by an individual life journey. It considers how the past is never recalled as a fixed or complete image, but is continually layered, displaced and reconstructed through emotion.
 

The space within the oil painting does not follow a stable logic of perspective or reality. Interior flooring, water, architectural fragments, grass, floating objects and reflected light are brought together within the same pictorial field. The image appears recognisable, yet remains unsettled. It exists between an observed scene and a dream-like condition, where different places, times and memories overlap. Space is no longer a single location, but a psychological field shaped by return, distance and uncertainty.
 

The five small lithographs function like fragments placed alongside the main painting. Their quieter images, including figures by water, moving bodies and distant landscapes, feel less like complete narratives than partial memories. The material quality of lithography gives these images a sense of stillness and sedimentation, as if they have been pressed into the surface by time.
 

In this work, the dream is not an escape from reality, but another way of approaching it. Nostalgia is not treated as simple longing or sentimentality. It contains attachment and distance, tenderness and unease, the desire to return and the recognition that return is never fully possible.
 

Through overlapping, displacement and visual fragmentation, Tomorrow Night Had a Dream reflects on how memory is formed between reality and imagination. It asks how an individual might search for their own traces when the past can no longer be completely recovered.

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《Tomorrow Night Had a Dream》由一幅超现实写实布面油画和五幅小尺幅石板画组成。作品从记忆、乡愁以及个体生命旅程中留下的痕迹出发，思考过去并不会以固定或完整的图像被重新唤起，而是在情感之中不断被层叠、错位和重组。

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布面油画中的空间并不遵循稳定的透视或现实逻辑。室内地板、水面、建筑碎片、草丛、漂浮物与反射的光被同时置于同一个画面场域之中。图像看似可辨认，却始终处于一种不安定的状态。它存在于现实观察与梦境经验之间，不同的地点、时间和记忆在其中彼此重叠。空间不再是单一的场所，而成为一个由回返、距离和不确定性共同塑造的心理场域。

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五幅小尺幅石板画则像是被放置在主画面旁边的记忆碎片。画面中安静的人物、水边的身体、移动中的姿态和远处的风景，并不构成完整叙事，而更像是一些局部的记忆残片。石板画的材料质感赋予这些图像一种静止与沉积感，仿佛它们是被时间压入表面后留下的痕迹。

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在这件作品中，梦并不是对现实的逃离，而是另一种接近现实的方式。乡愁也并不被处理为单纯的怀念或感伤。它同时包含依恋与距离、温柔与不安、回返的欲望，以及对“无法真正回到过去”这一事实的意识。

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通过重叠、错位和视觉碎片化，《Tomorrow Night Had a Dream》反思记忆如何在现实与想象之间被生成。它追问的是：当过去不再可能被完整追回时，个体如何仍然通过图像、材料和空间，寻找属于自己的痕迹。